Michael (PG) – 127 minutes

Michael Jackson’s manipulative and physically and emotionally abusive father Joseph looms large in this glossy biopic on the rise of the global superstar.

It charts the formation of Michael as the centrepiece of the Jackson Five, literally whipped into shape by strict disciplinarian Joe.

The movie showcases the influence of agents, producers and record executives in the making of the Michael Jackson “brand”.

In amongst the songs and videos that made Jackson a household name are the constant cries from Michael to go it alone and break free of Joe’s influence.

The movie highlights that growing up Michael appeared to have no friends, save for the animals he bought.

Think a rat, chimp, giraffe and snake for starters.

Whilst totally avoiding any allegations of preying on children, Michael the movie reveals his obsession with childish pursuits as he enters adulthood.

I am talking plush toys, games and cartoons, along with the picture book Peter Pan.

For many years, Michael prevails upon his handlers to stand up to his father on his behalf because he doesn’t want to confront Joe himself.

Jackson has a good relationship with his mother, Katherine, who stands by and watches Joe riding roughshod over him.

Michael enjoys sitting alongside Katherine and watching black and white movies and slapstick TV comedy shows. 

He is forever being told he is unique and special. He is also into self-affirmation.

We witness not only his commitment to excellence, but the emergence of groundbreaking MTV videos that help catapult him into the stratosphere.

Several of his brothers and La Toya are there in the background, but there is no reference to his other two sisters, Rebbie and Janet Jackson.

Newcomer Jaafar Jackson plays his real-life uncle with a combination of vulnerability and impressive dance “moves”, including replicating Michael’s Moonwalk. 

There is inherent sadness in Juliano Valdi’s representation of the young Michael.

Colman Domingo is a frightening figure – noteworthy as the self-serving Joe Jackson. 

Nia Long brings a quiet dignity to her portrayal of Katherine Jackson.

Miles Teller lacks depth as American entertainment lawyer John Branca, merely ticking the boxes, although that also comes down to the scripting.

While the music and dance numbers hit the mark (they were slick), I had some difficulty accepting other elements of John Logan’s (Skyfall) screenwriting too.

Specifically, Michael’s appeals to break the shackles became too much for me – too repetitive, heavy handed and clunky, even. 

Further, I didn’t see anything I didn’t expect in the film. There were no surprises. I would have liked some more insights.

And why no representation of Janet Jackson, who supposedly had a very close relationship with Michael, especially in the early days?

Obviously, the elephant in the room remains allegations of child sexual abuse.

Given that the film is supported by and produced with the involvement of the Michael Jackson estate and several family members, these were always going to be off limits.

Director Antoine Fuqua (Training Day) has given us a sugar-coated version of part of the Michael Jackson legacy, which should satisfy die-hard fans.

Rated PG, it scores a 7 out of 10.